Exploring ideas and engaging in conversation

Author: Eric A. Carstens (Page 2 of 2)

Reflections on Reopening from Nick Pioppi, Senior Educator at the New England Aquarium

The New England Aquarium, along with many of Boston’s other cultural institutions, reopened on July 16th with pandemic-specific precautions. The Aquarium now has a one way path throughout the building, reduced capacity, additional sanitation stations, and requires visitors to wear masks. Now that the Aquarium has been open for almost a month, I checked in with Nick Pioppi, Supervisor and Senior Educator at the New England Aquarium, about the process of reopening.

Nick Pioppi conducting a virtual visit to the New England Aquarium.

How have things been at the Aquarium since reopening?

“Things have been very good. We feel very confident that we have established a safe, fun, and engaging experience for visitors. That doesn’t mean that there haven’t been some things that we’ve worked on or refined in terms of our process. We always come up with ways to become more efficient or make the process run a little bit more smoothly so we’ve definitely tweaked things as we’ve gone along.”

When the aquarium was closed, what were some strategies you used to reach your audience?

“We took a look at what we offered virtually and came up with some strategies to create new virtual content that was fun and engaging and kept people feeling connected to the aquarium, but also continued to foster and promote our mission. I think that was really important because we wanted people to understand that there were a lot of things that were still going on, like animal care and research efforts. We wanted to work hard to put those out front and use those as a way of connecting with visitors.”

With reopening, what are some challenges you’ve found with running educational programming?

A California sea lion reminds visitors to social distance.

“We are not leading any of our normal presentations on microphone. We are trying to avoid elements of an experience that might cause people to crowd and have difficulty maintaining physical distance from each other. Any sort of educational content or interpretation is happening on a one-on-one basis. We have staff that are stationed throughout the building with the primary goal of providing a logistically smooth and safe experience for visitors, but we’re slowly starting to integrate points of interpretation.”

“We’ve really had to just be a little bit more selective about that and focus more on safety and logistics and making sure the one way path is being followed. We’ve even had to close down elements of the aquarium, like the touch tanks or one particular exhibit called “The Science of Sharks” that is very interactive, just out of an abundance of caution.”

Speaking to the animals, how are they adjusting to having visitors again?

“For the most part, we are not noticing significant differences in behavior of the animals. Most of their daily routines were still going on during the closure. They were still getting fed regularly and the life support systems that keep them comfortable were being maintained. If they aren’t particularly reactive to our presence outside of their tank, then things are the same for them. There are a few exhibits that we’re noticing some subtle differences. To prepare the penguins, a week ahead of time we placed speakers around the exhibit and played crowd noise to get them accustomed to visitors again.”

Do you have any advice for museum educators during the pandemic?

“From my own experience, now is the time where it’s important to remember a lot of the basics of education, such as the customer service element and providing a nice alternate experience for visitors than what they’re having any given day. But this is also a time where innovation and trying new things out can be really beneficial. Trying to think of new ways to connect to people.”

“I think for institutions, it’s probably really scary to innovate and experiment because you’re worried about losing what little you have right now. But I think now is just a good a time as any to be innovative and stand out. Provide something that other museums and institutions aren’t necessarily providing.”

The New England Aquarium highlighted the work of the aquarists and researchers during the closure.

Are there any final thoughts you’d like to share?

“I think the community of educators is so important right now. I think it’s important right now to think about ways to connect. Connect with teachers that are struggling with virtual learning in the fall. Connect with people who may have been laid off from an institution because of budget cuts. Connect with people who might be educators but are doing a type of interpretation that’s really different from you. We can all learn from each other and support each other.”

Thank you so much, Nick, for meeting with me to chat about the Aquarium’s reopening. Follow the New England Aquarium’s Facebook and Instagram accounts for tons virtual content and updates. Also, the Aquarium is still fighting for COVID-19 relief funding, so use this link to contact your representative about providing crucial funding for both animal care and operating costs.

A Reflection on Lee Mingwei’s ‘Sonic Blossom’

Museums in the Boston area have started reopening this past week. I am very eager to get back out there to visit my old haunts and find new exhibits to explore. I have not had the opportunity to visit one yet, so instead I wanted to take this week’s blog post to reflect on a past museum experience. Last fall, I went to the Isabella Stewart Gardner Museum to analyze a tour for ‘Teaching and Learning in Museums.’ Also last fall, Lee Mingwei’s Sonic Blossom was visiting the Isabella Stewart Gardner Museum as part of their special exhibition In the Company of Artists.

Lee Mingwei

Lee Mingwei is a Taiwanese-American artist known for his intimate participatory experiences. While Lee cared for his mother after her surgery, they listened to Franz Schubert’s Lieder. “These songs came as an unexpected gift to us, one that soothed us both and clearly helped with her healing.” Lee Mingwei’s goal with Sonic Blossom is to spread the gift of healing and transformation with Lieder. Professional opera singers were to move through art galleries, offer participants the gift of song, lead them to a chair, and serenade them. This is where I come in.

I had just finished my tour, learning about Isabella Stewart Gardner’s eccentric life and art collection, and found myself wandering the first floor galleries when a woman in an ornate robe slowly approached me. She asked: “May I give you a gift of song?” At this point I had no idea what Sonic Blossom was, so I agreed. I assumed that I would join a group of people for a special presentation on Gardner’s collection of instruments. Perhaps she was collecting an audience for a small demonstration. I was wrong.

The Isabella Stewart Gardner Museum courtyard.

The singer lead me to a single chair in the courtyard and began singing to me, and only me, with very intense eye contact. At the Gardner, the courtyard is the center of the whole museum, a lush garden surrounded by cloisters, and visible throughout the museum. When the music started, all visitors seemed to turn and stare, heads popping out of archways like little prairie dogs. This was not what I signed up for. My eyes flitted back and forth, occasionally making contact with the singer to let her know that I appreciated her talent while managing the awkwardness of the very public and very intimate performance. My heart was pounding, my face was flushing, and I had no idea what to do with my hands. After four minutes (or an hour, who’s to say?), the performance ended. I sheepishly thanked the singer and sunk back into the shadows of the galleries.

I wish I had known what I was getting into when I agreed to receive “a gift of song,” but knowing myself, I would have declined. I’m grateful for Sonic Blossom for pushing me out of my comfort zone. Throughout the rest of my visit, I paid special attention to the later performances, both appreciating their beauty and feeling immense relief that I was no longer the one in the chair. Now that nine months have passed, I can reflect more on the magic of Sonic Blossom. I was very lucky to experience a beautiful opera performance in a palatial courtyard. Was I healed or transformed? It’s hard to say, but it is certainly something that I will not forget anytime soon.

How Science Museums Can Talk About Race.

As people across the country fight back against police brutality and systemic racism, cultural institutions need to leverage their platform as trusted sources of information to educate the public about racism in the United States. Discussions about race are typically limited to art and history museums, while science museums tend to focus on the environment, health, and conservation. Science museums are not exempt, however, as racism intersects with both environmental science and health science. Moving forward, it’s critical that science museums start addressing systemic racism in order to better serve both their missions and their communities.

RACE: Are We So Different? debuted in 2007 and has visited over 40 institutions.

The American Anthropological Association and the Science Museum of Minnesota worked together to develop an exhibit entitled RACE: Are We So Different?  in 2007 to explore race and racism in the United States. The exhibit combines history, science, and lived experiences to challenge how we think about race. The exhibit has since travelled around the country to various science museums, with its most recent stop at the Durham Museum in Omaha, NE. A traveling exhibit that addresses race is great, but science museums have a responsibility to do more.

Many science museums focus on topics about the environment and sustainability, but from my experience, rarely talk about environmental racism. Environmental racism is the disproportionate impact of environmental hazards on people of color. For example, Black and Latinx Americans are more likely to live in areas with high air pollution leading to an array of health problems. Overall, people of color are on the front lines of the climate crisis and have fewer resources to deal with the consequences. In the U.S., the white upper middle class will be the last to feel the catastrophic effects of climate change. These are the same demographics that tend to visit museums. To both better serve communities of color and accurately deliver conservation messaging, science museums have a duty to address environmental racism head on through educational programming and activism.

Ending our reliance on fossil fuels is the key to reversing climate change and a fundamental part of environmental messaging. Non-renewable energy is also tightly linked with colonialism and the destruction of indigenous land and culture. In 2016, the Dakota Access Pipeline was rerouted to pass directly upstream from the Standing Rock Sioux Reservation without understanding the environmental impacts. Only this year did the D.C. district court order a proper environmental review. The Standing Rock Sioux Tribe is still fighting to shut down the DAPL. To divorce climate change and sustainability from human rights is a disservice to the indigenous communities that have led the environmental movement from the beginning.

From earthjustice.org

Health sciences and medicine also have a deeply racist history. Ethics and consent have evolved over time, but have taken advantage of people of color in particular. Jon Quier experimented with smallpox inoculation on enslaved peoples in Jamaica. The Tuskegee Study of Untreated Syphilis in the Negro Male deliberately misled black men into believing they were receiving treatment in order to study the progression of the disease. In 1951, Henrietta Lacks’ immortal cancer cells were taken without her or her family’s knowledge or consent. These HeLa Cells have been instrumental in understanding polio, HIV, HPV, and thousands of other diseases, but have sparked questions about informed consent and collecting patient cells. Museums are uniquely equipped to present these questions and facilitate discussions on bioethical standards. It’s important to acknowledge and confront how racism has and continues to shape medical advancements worldwide.

Whale People: Protectors of the Sea at the Florida Museum of Natural History.

As educational institutions, most science museums are already addressing both the current environmental crisis and human health. As cultural institutions, they need to include whole narratives if they are going to properly serve their communities. The Natural History Museum is a traveling pop-up museum that “makes a point to include and highlight the socio-political forces that shape nature.” Past exhibits include Whale People: Protectors of the Sea which addresses orca conservation, pollution, and industrialization of the Pacific Northwest in collaboration with the Lummi Nation. Mining the HMNS tackles the Houston Museum of Natural Sciences’ relationships with the fossil fuel industry by investigating exhibits in HMNS and highlighting the stories of communities along the Houston Ship Canal.

All science museums need to take The Natural History Museum’s lead and project marginalized voices. To remain apolitical is to continue whitewashing both environmental and health sciences and to silence BIPOC communities. Science museums need to uplift activists of color by giving them a platform to speak. Science museums need to diversify their boards, staff, and leadership to dismantle the white narratives that are pervasive throughout. And science museums need to adapt their missions to address the social and political factors that influence both nature, health, and scientific discovery.

Living Collections and COVID-19

Museums across the country have felt the impact of the COVID-19 and the mandatory stay-at-home orders. Thousands of employees have been laid off and furloughed as these institutions try to stay afloat without revenue from visitors. Zoos and aquariums have an extra element to juggle: live animals. Without reliable income to buy food or pay staff, zoos and aquariums are having to find new ways to cope.

Tierpark Neumünster in Germany has expressed panic at its dwindling budget. With no money coming in, the zoo announced that it may have to start sacrificing certain animals to feed the others. The park’s beloved polar bear, Vitus, would be the last animal standing. While Tierpark Neumünster is only suggesting this as an absolute last resort, it does shine light on some scary scenarios. What would happen if zoos and aquariums run out of money? What if they shut down? What would happen to the animals? These institutions are in uncharted territory. There’s no protocol for handling a pandemic and months of closure.  

Vitus, the polar bear

The animals themselves have been feeling the impact of the pandemic. COVID-19 is a zoonotic disease, meaning it jumped from animals to humans. Snakes, pangolins, and bats are all feasible culprits. Furthermore, we do not know which animals in our zoos could potentially carry the disease or succumb to infection. Tigers and lions at the Bronx Zoo have tested positive for COVID-19, likely infected by an asymptomatic zookeeper. Thankfully, all of the cats are doing well and recovering, but there’s little knowledge on how other species will react. Ultimately, COVID-19 is an unknown entity. We know it can infect animals, we know it can pass between humans and animals, but we do not know the full ramifications.

Nadia, one of the Bronx Zoo’s tigers who tested positive for COVID-19.

Massachusetts started its four phase reopening on May 18th. As of May 25th, outdoor zoos are allowed to reopen, with strict guidelines. Aquariums and other museums will not be allowed to open until Phase 3. With such limited information about the interspecies spread of COVID-19, it’s risky to allow visitors back into proximity with these animals. Reopening could put both the visitors and the animals at an increased risk of infection.

It’s a tricky balance to find enough money to operate while prioritizing the health of the animals, the visitors, and the staff. In the U.S., museums received aid from the $2 trillion distributed from the CARES Act on March 27th, designed to protect American workers and small businesses. For animal care, zoos and aquariums need more. The Association of Zoos and Aquariums has collaborated with the American Alliance of Museums to request an additional $4 billion in relief funding from Congress. Here is the AZA’s form to request aid for zoos and aquariums. Hopefully, with additional funding, zoos and aquariums won’t have to choose between reopening prematurely or feeding their animals to each other.

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